


Lessons: An Episode

by hobert



Category: Highlander: The Series
Genre: Gen
Language: English
Status: Completed
Published: 2015-04-02
Updated: 2015-04-02
Packaged: 2018-03-20 20:11:31
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 6,134
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/3663420
Author URL: https://archiveofourown.org/users/hobert/pseuds/hobert
Summary: <blockquote class="userstuff">
              <p>Tired of the summertime blahs? Can't get your weekly HL fix? What can we do? Read this hypothetical fourth season episode and sigh with relief. It's got everything I want in an episode. More Immortals than you can shake a stick at! (**WARNING - DO NOT PLAY THE DRINKING GAME WHEN READING THIS EPISODE!!!**) More Richie! Guest stars that can use swords! What more can you ask for? (OK - Who said "PLOT"?) Pull up your couch and settle in...</p>
            </blockquote>





	Lessons: An Episode

  
** Cast: **

Adrian Paul as Duncan MacLeod

Stan Kirsch as Richie Ryan

Jim Byrnes as Joe Dawson

** Guest Stars: **

Duncan Regehr as Mark Levison

Elizabeth Gracen as Amanda

Gabrielle Miller as Michelle Wheeler

Jerry O'Connell as Nathan

Colin Firth as Trevor Matthews

Cameron Bancroft as David Keogh

* * *

  
**OPENING CREDITS**  

**TEASER:**  

**INT PARIS APARTMENT (PARTY) - EVENING**  

 

Black screen, no sound. Title "Lessons" appears in white in bottom third. Party sounds fade in as the black moves away from camera, revealing the back of a man's tuxedo. Credits appear throughout scene. Party chatter continues with soft music in the background as the camera weaves its way through the crowd. The location is a Paris apartment, with a night skyline and storm seen outside the large bay windows. Camera makes its way to a secluded corner where Amanda and Michelle are revealed in conversation, a drink in the hand of each. Both are dressed to the hilt, with no evidence of swords. The camera closes, speeding up as 'the buzz' is noticed. Both react.  


>   
> MICHELLE:
> 
> _(excited)_  
> 
> Someone's here!
> 
>  
> 
>  
> 
> AMANDA:
> 
> It might not be a friend. No
> 
> one will try anything, not at
> 
> the moment. Maybe outside,
> 
> when we leave. Paris draws
> 
> a lot of our kind.

Camera pans crowd, circling back to the pair. A man's coat blocks a third of the screen.  


>   
> VOICE:
> 
> Good evening, mademoiselles.
> 
>  
> 
> AMANDA:
> 
> _(extending her hand)_  
> 
> Mr. Rusk, what a nice surprise....
> 
>  
> 
> VOICE:
> 
> _(Kissing her hand)_  
> 
> Lovely as always, my dear. It
> 
> is an honor to be graced by your
> 
> beauty twice in one week.
> 
>  
> 
> AMANDA:
> 
> Here's the young lady we were
> 
> talking about; my student, Miss
> 
> Wheeler. Michelle, may I present
> 
> Simon Rusk?
> 
>  
> 
> VOICE:
> 
> _(Kissing Michelle's hand)_  
> 
> Delighted. Would you care to
> 
> dance?
> 
>  
> 
> AMANDA:
> 
> I don't think...

Before Michelle can reply, she is escorted out of camera, leaving Amanda worried as she takes a drink. The camera pans left, spinning, then slows, the camera over Voice's left shoulder on Michelle as the pair dance.  


>   
> MICHELLE:
> 
> _(Giggling)_  
> 
> So, I take it you and Amanda
> 
> know each other?
> 
> _(Silence)_  
> 
> All right then, how long have
> 
> you been in Paris?
> 
> _(Voice dips Michelle)_  
> 
> Ohhh, the strong, silent type.
> 
> Just the way I like a man.

Michelle twirls, the camera continues to spin and fading out of focus, growing dim, until it stops, revealing a darkened study. The only light is from the large windows, open to the Paris skyline and storm. Michelle and Voice enter, the soft strains of far away music heard as the door opens and closes. Michelle suddenly kisses Voice, then turns shyly away. Cut to exterior shot, outside in rain looking in window. Michelle moves silently to window, illuminated by lightning, as she plays with necklace and smiles. Behind her, in the darkness, a flash of steel. She turns back as the camera sinks down, into the party below. Amanda is looking out a window also, suddenly illuminated by lightning. Music almost sounds like a scream. She glances upwards and around outside, before turning back to the party. Cut to far shot. Tall building in Paris, lightning flashing from top floor window, followed by thunder. Fade to black.

Commercial.

* * *

  
**ACT ONE:**  

**INT DOJO - AFTERNOON**  

Montage of Duncan and Richie sparring. Music is blasting from jambox on floor. They move about the dojo, occasionally using workout equipment against each other. The mood is light and jovial. During a breather, both men panting, the music is drowned out by the "buzz" noise. Duncan and Richie look around as the camera circles around them, settling on the front doorway. A dark shape, sword in hand, steps forward, revealing Mark Levison.  


>   
> MARK:
> 
> Highlander. Still desperate
> 
> to win a fight?
> 
>  
> 
> DUNCAN:
> 
> _(unemotional)_  
> 
> Levison.
> 
>  
> 
> RICHIE:
> 
> Mac?
> 
>  
> 
> DUNCAN:
> 
> _(back to Richie)_  
> 
> He's mine.

Mark and Duncan fight, seriously. Duncan takes first blood, but Mark is fresher, slowly wearing down the Highlander. A sudden combination strike with a hidden dagger, and Duncan is face down on the ground, unconscious, a pool of red blood slowly expanding beneath him. Mark turns to Richie, who backs away, moving toward the side door.  


>   
> MARK:
> 
> Next?
> 
>  
> 
> RICHIE:
> 
> Chill, man. Everything's cool.
> 
>  
> 
> MARK:
> 
> _(Raising sword & dagger)_ 
> 
> That's not a choice.

The two fight. Richie is disarmed, and reduced to throwing things. He trips over a weight bench, falling to the floor. Mark raises his sword for the beheading stroke.  


>   
> MARK:
> 
> Game, set, and match.

 

As he finishes speaking, a katana blade sprouts from his chest, a blood stain slowly expanding on his shirt from the wound.  


>   
> DUNCAN:
> 
> _(Leaning around from behind)_  
> 
> You always were too cocky, Mark.
> 
>  
> 
> MARK:
> 
> _(Gasping)_  
> 
> Duncan. Always spoiling my fun.

Mark falls to the floor, dead. Duncan helps Richie to his feet.  


>   
> DUNCAN:
> 
> _(Once Richie is standing)_  
> 
> Try to keep hold of your sword.
> 
> It really helps.

Richie goes after his sword as Duncan stands over Mark, waiting. The camera rises to the ceiling, looking down, as the scene shifts to Richie, in different clothes, busy scrubbing blood stains out of floor with scrub brush and bucket. A change in outside lighting reflects passage of time. Richie is muttering comments as the camera pans up into blackness...

**INT LOFT - SAME TIME**  (Gratuitous Shirtless Scene)

...and rises from the loft floor. Mark is standing by the coffee table, towel drying his hair. Duncan, still unemotional, approaches from behind camera, spare shirt in hand. Another shirt is tucked into his belt.  


>   
> DUNCAN:
> 
> _(Shouting)_  
> 
> Mark!

Mark stops, tosses towel at Duncan and catches the shirt.  


>   
> MARK:
> 
> You wouldn't happen to have
> 
> a comb...

Duncan holds up other hand, holding a brush, previously hidden by his side. Mark smiles as he catches it and starts combing his hair, moving toward a free-standing mirror. Duncan opens the liquor cabinet.  


>   
> DUNCAN:
> 
> Want a drink?
> 
>  
> 
> MARK:
> 
> Tea, if you have it. Or coffee.

Duncan gives Mark a look of surprise before shutting the cabinet doors and moving to kitchen. Camera follows as he fills a kettle and places it on stove.  


>   
> DUNCAN:
> 
> When did you give up scotch?

Camera pulls back as Mark sits in chair, discarding the brush and examining the shirt. Duncan is in the background, putting on the second shirt.  


>   
> MARK:
> 
> It's been a while. Was the flea
> 
> market having a two-for-one?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> If you're going to insult my wardrobe,
> 
> you can tell me what you're doing here.
> 
>  
> 
> MARK:
> 
> _(putting on shirt)_  
> 
> Matthews' in town.
> 
>  
> 
> DUNCAN:
> 
> Why come to me?
> 
>  
> 
> MARK:
> 
> Your young friend is in danger.
> 
>  
> 
> DUNCAN:
> 
> What makes you think he's
> 
> after Richie?
> 
>  
> 
> MARK:
> 
> _(Standing, moving to counter)_  
> 
> There aren't that many Immortals
> 
> around here. And stories of your
> 
> student have really been flying
> 
> around. Now's the perfect time.
> 
>  
> 
> DUNCAN:
> 
> Not if I can help it. How did you
> 
> you know he was here?
> 
>  
> 
> MARK:
> 
> Immigration called. One 'Simon Rusk'
> 
> arrived in New York from France early
> 
> this morning. That's the name he's
> 
> using this century. He took American
> 
> Flight 227 to San Francisco, and a ten
> 
> a.m. charter to here. I got here by noon.
> 
>  
> 
> DUNCAN:
> 
> You're sure it's him, this time?
> 
>  
> 
> MARK:
> 
> Yes.
> 
>  
> 
> DUNCAN:
> 
> _(close-up of face)_  
> 
> You're getting better.

Just then, Duncan blocks a sword with his katana, both blades crossed in front of his face. The camera pans around to David Keogh, holding the other sword. He's grinning.

 

**INT SALON - NOON**  

They are sparring in a dance salon, mirrors on side wall, draped windows at the end.  


>   
> DAVID:
> 
> _(breathless)_  
> 
> I've learned more from you in
> 
> six months, Duncan, than in the
> 
> last ten years...

David suddenly breaks into an attack, pressing Duncan back. The words "Philadelphia, 1824" appear on the bottom of the screen. Duncan finally disarms David, sending his sword across the room.  


>   
> DUNCAN:
> 
> _(looking at watch)_  
> 
> The last train for New York
> 
> leaves at midnight.
> 
>  
> 
> DAVID:
> 
> Fine. I'll meet you here at
> 
> eleven.
> 
> _(Off Duncan's look)_  
> 
> I need to tell someone I'll be
> 
> leaving town for a bit. It's
> 
> important.

 

David picks up sword and walks off camera, leaving Duncan standing in the middle of the salon. The scene fades into night, Duncan still standing, only a pile of luggage is now nearby. He looks at his pocket watch again. The buzz occurs a second before the door bursts open, David rushing in, harried.  


>   
> DAVID:
> 
> _(breathless)_  
> 
> There's an Immortal...after
> 
> me. He won't quit.

Duncan looks around room, spotting outside fire escape, moves David toward it.  


>   
> DUNCAN:
> 
> Go. Up to the roof. I'll try
> 
> see if I can talk to him.
> 
> _(Stopping)_  
> 
> But if he wants you, you'll
> 
> have to fight him.
> 
>  
> 
> DAVID:
> 
> I know. Thank you, Duncan.
> 
> I'll meet you at the train
> 
>  
> 
> station.

 

Another buzz. They clasp forearms, David ducking out the window, Duncan moving to the center of the saloon, katana ready. A dark shapes moves into the light. It is Trevor Matthews.  


>   
> TREVOR:
> 
> _(Chuckling)_  
> 
> Seems the young one has
> 
> friends.
> 
>  
> 
> DUNCAN:
> 
> Good friends. Duncan
> 
> MacLeod, of the Clan
> 
> MacLeod.

The pair circles, neither making an aggressive move.  


>   
> TREVOR:
> 
> Trevor Matthews. This could
> 
> be construed as interference.
> 
>  
> 
> DUNCAN:
> 
> Looks to me like one of you
> 
> didn't want to fight.
> 
>  
> 
> TREVOR:
> 
> True. But he can't run
> 
> forever.
> 
>  
> 
> DUNCAN:
> 
> He can run today.
> 
>  
> 
> TREVOR:
> 
> _(Hiding sword in coat)_  
> 
> I didn't live this long making
> 
> foolish challenges. Your
> 
> friend will live another
> 
> night, MacLeod.

Trevor Matthews leaves. Off camera, a train whistle sounds, but it is only the water boiling in the kettle. The camera pans to a close-up of Duncan's face, with Mark appearing over his shoulder.  


>   
> MARK:
> 
>  
> 
> Your student is an excellent
> 
>  
> 
> choice. Young, new. Trust me,
> 
>  
> 
> Matthews can't resist.
> 
>  
> 
> Especially knowing you are his
> 
>  
> 
> Teacher.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> He'll have to get through me,
> 
>  
> 
> first.
> 
>  
> 
> MARK:
> 
>  
> 
> I think he's planning on it.

 

The phone rings. Duncan moves to the wall and answers it.  


>   
> DUNCAN:
> 
>  
> 
> MacLeod.

 

**INT PARIS HOTEL SUITE - EVENING**  

 

Amanda is sitting curled up on a sofa, phone to her ear. She has  
obviously been crying.  


>   
> AMANDA:
> 
>  
> 
> Duncan? Michelle's...dead.
> 
>  
> 
> Last night. There was an
> 
>  
> 
> Immortal, Rusk. I need you.

 

**INT LOFT**  

 

Duncan stands with phone in hand, not answering. Fade to black.  
Commercial.

* * *

 

 

**ACT TWO:**  

 

**INT DOJO OFFICE - DUSK**  

 

Duncan and Richie are standing near the door, facing each other.  
Duncan has a travel bag over one shoulder.  


>   
> DUNCAN:
> 
>  
> 
> I'll only be gone a day, two
> 
>  
> 
> at the most.
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(Exasperated)_  
> 
>  
> 
> I'll be fine. Amanda needs you
> 
>  
> 
> now. I can take care of
> 
>  
> 
> myself, Mac.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> I know.

 

Off camera, the sound of a door slamming is heard. Duncan looks  
behind at the dojo proper.  


>   
> DUNCAN:
> 
>  
> 
> _(Looking back)_  
> 
>  
> 
> I'd feel much better if you'd
> 
>  
> 
> go to the island for a bit.
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(Shaking head)_  
> 
>  
> 
> I've got a job here. The one
> 
>  
> 
> you gave me, remember?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Maybe I should fire you...
> 
>  
> 
> _(Off Richie's look)_  
> 
>  
> 
> Forget it.

 

Mark enters through the dojo front doors in background.  


>   
> MARK:
> 
>  
> 
> _(Yells)_  
> 
>  
> 
> Someone call a taxi?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Watch your head.
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(As they hug)_  
> 
>  
> 
> Call me. And give Amanda
> 
>  
> 
> my condolences.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> I will.

 

Duncan turns and leaves. Richie walks him to the office door,  
where he stops, hanging on the frame. Duncan and Mark are walking  
toward door when...  


>   
> RICHIE:
> 
>  
> 
> You could bring her back,
> 
>  
> 
> you know.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(Yelling back)_  
> 
>  
> 
> I know.
> 
>  
> 
> MARK:
> 
>  
> 
> I'll keep an eye on the lad,
> 
>  
> 
> Duncan.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> You better.

 

They walk to the exit. As they pass a vertical bar, the scene  
changes to outside on some docks. They are still walking side  
by side, but they now wear clothing of the period. As the camera  
stops and continues to watch the pair walk off, the words "San  
Francisco 1853" appear at the bottom.

 

**INT VICTORIAN HOUSE - AFTERNOON**  

 

Mark and Duncan enter the front door. Duncan sets the luggage  
down.  


>   
> MARK:
> 
>  
> 
> I want to thank you for coming.
> 
>  
> 
> You're the only person I could
> 
>  
> 
> think of.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> So this student of yours
> 
>  
> 
> is good.
> 
>  
> 
> MARK:
> 
>  
> 
> Better than me. That's why I
> 
>  
> 
> needed you.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(Looking around)_  
> 
>  
> 
> Where is he?
> 
>  
> 
> MARK:
> 
>  
> 
> Upstairs, in the practice
> 
>  
> 
> room.

 

**INT PRACTICE ROOM - LATER**  

 

Nathan is alone in the room, practicing a move, his back to the  
door and camera. He is dressed for fencing, attacking an imaginary  
target with a foil. The buzz sounds, and the camera closes as  
he turns around.  


>   
> MARK:
> 
>  
> 
> _(off camera)_  
> 
>  
> 
> Here he is.

 

Duncan and Mark walk up, Duncan and Nathan facing each other.  


>   
> MARK:
> 
>  
> 
> Nathan, this is Duncan MacLeod,
> 
>  
> 
> a good friend. He's come to see
> 
>  
> 
> if he can help.
> 
>  
> 
> NATHAN:
> 
>  
> 
> _(cocky)_  
> 
>  
> 
> Let's see.

 

He grabs another foil and tosses it to Duncan. The two square  
off and spar, dressed as is. Nathan is graceful and smooth, but  
shows a severely limited repertoire. Duncan scores several hits,  
making Nathan furious, until Nathan scores, cutting a thin line  
across Duncan's cheek. They stop, Duncan brushing the wound with  
the back of his hand. He eyes Nathan warily.  


>   
> DUNCAN:
> 
>  
> 
> I think that will do for now.

 

**INT SAN FRANCISCO BAR - LATE AFTERNOON**  

 

Duncan and Mark are at the bar, drinking.  


>   
> MARK:
> 
>  
> 
> So you'll stay.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> For a bit. I can at least get
> 
>  
> 
> him started.
> 
>  
> 
> MARK:
> 
>  
> 
> That's what I was hoping you'd
> 
>  
> 
> say. It's been too long.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Yes, it has. But you owe me
> 
>  
> 
> for this.
> 
>  
> 
> MARK:
> 
>  
> 
> _(Raising glass in toast)_  
> 
>  
> 
> I owe you.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> He's a handful, I'll wager.
> 
>  
> 
> MARK:
> 
>  
> 
> It hasn't been easy. On
> 
>  
> 
> either of us. When he's comfortable
> 
>  
> 
> with the arrangements, he'll drop
> 
>  
> 
> the smugness. He really is good.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Enough talk about students. It's
> 
>  
> 
> my first night in San Francisco.
> 
>  
> 
> What kind of trouble are we going
> 
>  
> 
> to get into?
> 
>  
> 
> MARK:
> 
>  
> 
> I'm glad you asked. Bartender,
> 
>  
> 
> another round.

 

A close-up shot of the bartender setting a drink on the bar, but  
when the camera pulls back, it is Richie sitting at the bar.

 

**INT JOE'S BAR - EVENING**  

 

Richie leans over to pick up the drink, looking at Joe.  


>   
> JOE:
> 
>  
> 
> You seem awfully quiet this
> 
>  
> 
> evening.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Yeah.

 

Silence as Joe cleans the bar with a rag, waiting.  


>   
> JOE:
> 
>  
> 
> OK, spill it.
> 
>  
> 
> RICHIE:
> 
>  
> 
> There's an...'old friend' in town.
> 
>  
> 
> Trevor Matthews.
> 
>  
> 
> JOE:
> 
>  
> 
> Never heard of him.
> 
>  
> 
> RICHIE:
> 
>  
> 
> He's going by Simon Rusk, at
> 
>  
> 
> the moment.
> 
>  
> 
> JOE:
> 
>  
> 
> Still doesn't ring a bell.
> 
>  
> 
> _(Silence)_  
> 
>  
> 
> Is he a friend of Duncan's?
> 
>  
> 
> RICHIE:
> 
>  
> 
> Hardly.
> 
>  
> 
> JOE:
> 
>  
> 
> So Duncan flies off to Paris,
> 
>  
> 
> leaving you behind. Rich, he's
> 
>  
> 
> a big boy...
> 
>  
> 
> RICHIE:
> 
>  
> 
> Matthews is after me.
> 
>  
> 
> JOE:
> 
>  
> 
> Ahhh...

 

Joe goes back to cleaning the bar. Richie waits until he can't  
bear it.  


>   
> RICHIE:
> 
>  
> 
> What do you mean, 'Ahhh...."?
> 
>  
> 
> JOE:
> 
>  
> 
> Someone's finally come for you.
> 
>  
> 
> You didn't get in the way, it's not
> 
>  
> 
> about MacLeod, your head is being
> 
>  
> 
> hunted. Welcome to the big leagues.
> 
>  
> 
> RICHIE:
> 
>  
> 
> It had to happen sometime. So
> 
>  
> 
> what do I do?
> 
>  
> 
> JOE:
> 
>  
> 
> You askin' me?
> 
>  
> 
> _(Richie nods.)_  
> 
>  
> 
> Hey, I just give advice about your
> 
>  
> 
> love life. And occasionally watch.
> 
>  
> 
> This is out of my department. Ask
> 
>  
> 
> MacLeod.
> 
>  
> 
> RICHIE:
> 
>  
> 
> I already know what he thinks.
> 
>  
> 
> JOE:
> 
>  
> 
> Which isn't the answer you
> 
>  
> 
> want to hear. Look, Duncan
> 
>  
> 
> has more....
> 
>  
> 
> _(off Richie's look)_  
> 
>  
> 
> It's about Duncan. You're not
> 
>  
> 
> scared about this Immortal,
> 
>  
> 
> you're angry at MacLeod.
> 
>  
> 
> RICHIE:
> 
>  
> 
> He's driving me crazy. He's
> 
>  
> 
> so... so....
> 
>  
> 
> JOE:
> 
>  
> 
> Overprotective?
> 
>  
> 
> RICHIE:
> 
>  
> 
> It's getting old. I mean, how
> 
>  
> 
> many Immortals do I have to
> 
>  
> 
> fight before he'll admit I can
> 
>  
> 
> take care of myself?
> 
>  
> 
> JOE:
> 
>  
> 
> You never had any parents, did
> 
>  
> 
> you?
> 
>  
> 
> RICHIE:
> 
>  
> 
> No. What's that got to....
> 
>  
> 
> JOE:
> 
>  
> 
> Nothing, really. So, back to the
> 
>  
> 
> original question. What are you
> 
>  
> 
> going to do?

 

Richie looks at his watch, setting his empty glass on the counter.  
He pulls a couple of bills from his wallet and throws them next  
to the glass.  


>   
> RICHIE:
> 
>  
> 
> I'm gonna go open up the dojo.
> 
>  
> 
> JOE:
> 
>  
> 
> This late?
> 
>  
> 
> RICHIE:
> 
>  
> 
> Last minute workout. Hey, you've
> 
>  
> 
> got to be flexible if you want the
> 
>  
> 
> business. Am I right?
> 
>  
> 
> JOE:
> 
>  
> 
> On the nose. Take care of yourself,
> 
>  
> 
> Richie.
> 
>  
> 
> RICHIE:
> 
>  
> 
> One of the few things I am good
> 
>  
> 
> at. Night, Joe.
> 
>  
> 
> JOE:
> 
>  
> 
> Night.

 

Richie heads to the door, stopping and turning around, his earlier  
smile from the banter gone.  


>   
> RICHIE:
> 
>  
> 
> Thanks, Joe.
> 
>  
> 
> JOE:
> 
>  
> 
> Any time.

 

Richie walks out. Joe looks at the patrons, jerks his head in  
Richie's direction, and a nondescript person leaves a table and  
walks out, following Richie.

 

**EXT STREET - LATER**  

 

Whistling approaches off camera. Richie's head appears just as  
the buzz sounds. He momentarily stops, checks for his sword, then  
begins walking and whistling again. He slowly gets faster and  
faster until he is running dead out. Up the sidewalk, across the  
street, taking several corners. He stumbles once, rolling on the  
sidewalk, then regaining his feet. Finally, Richie makes it to  
a church, where he stops, breathing heavily. The buzz, still pounding  
in his head, is joined by a low, raspy laughter, until both fades,  
leaving Richie alone, still gasping for breath.

 

**INT PARIS HOTEL - SUNRISE**  (Gratuitous Amanda in a robe  
scene)

 

Amanda is sitting in the middle of the sofa, leaning against the  
back, now in a silk bathrobe. Duncan walks up, a cup of coffee  
in each hand. He is also wearing a silk bathrobe. He sets the  
cups on the table, sits behind her, and starts massaging her shoulders.  


>   
> AMANDA:
> 
>  
> 
> _(Dreamily)_  
> 
>  
> 
> You have about a century
> 
>  
> 
> to stop that.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> It might take me that long.

 

He kisses her on the shoulder, but she pulls away.  


>   
> AMANDA:
> 
>  
> 
> I'm sorry, Duncan. I'm not
> 
>  
> 
> really in the mood.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(Guiltily)_  
> 
>  
> 
> Neither am I. You didn't sleep
> 
>  
> 
> at all last night, did you?
> 
>  
> 
> AMANDA:
> 
>  
> 
> _(turning around)_  
> 
>  
> 
> Neither did you. You're worried
> 
>  
> 
> about Matthews going after
> 
>  
> 
> Richard.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Yes.
> 
>  
> 
> AMANDA:
> 
>  
> 
> Then you should have stayed.
> 
>  
> 
> I'll manage.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> You needed me. And, it would
> 
>  
> 
> have looked like I don't trust
> 
>  
> 
> Richie to handle it himself.
> 
>  
> 
> AMANDA:
> 
>  
> 
> Well, you don't.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(Caught)_  
> 
>  
> 
> Am I that transparent?
> 
>  
> 
> AMANDA:
> 
>  
> 
> _(Rubbing Duncan's arm)_  
> 
>  
> 
> Only to me. Poor Duncan. At
> 
>  
> 
> least Richard has a fighting
> 
>  
> 
> chance...
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Stop that! You can't....
> 
>  
> 
> AMANDA:
> 
>  
> 
> _(Setting cup down)_  
> 
>  
> 
> If I didn't agree to the party,
> 
>  
> 
> if we had stayed at the convent...
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(Pulling her close)_  
> 
>  
> 
> You did everything you could.
> 
>  
> 
> AMANDA:
> 
>  
> 
> Not everything.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> She had a bad habit of walking
> 
>  
> 
> off with strange men.
> 
>  
> 
> AMANDA:
> 
>  
> 
> I taught her better than that.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> But you aren't responsible when
> 
>  
> 
> they don't listen. Trust me, I know.
> 
>  
> 
> It hurts. But you can't blame
> 
>  
> 
> yourself.
> 
>  
> 
> AMANDA:
> 
>  
> 
> I just feel so helpless. And
> 
>  
> 
> guilty.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> We'll catch Matthews.
> 
>  
> 
> AMANDA:
> 
>  
> 
> _(Turning to face Duncan)_  
> 
>  
> 
> Are you including me?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Richie did say to bring you
> 
>  
> 
> back.
> 
>  
> 
> AMANDA:
> 
>  
> 
> And what do you say?

 

Duncan kisses her gently on the cheek. She lowers her head to  
his chest as the camera pans back.  


>   
> DUNCAN:
> 
>  
> 
> I say we need to get ready
> 
>  
> 
> for the funeral.

 

**INT DOJO OFFICE - NIGHT**  

 

Two men, Mike and Pal are sparring hand to hand in the dojo proper.  
Richie is at the desk, messing with paperwork. A "buzz"  
sounds. He stands, looking out at the dojo. He walks out, starting  
for the elevator.  


>   
> RICHIE:
> 
>  
> 
> Hey, Mike. I'll be upstairs
> 
>  
> 
> if you need me.
> 
>  
> 
> MIKE:
> 
>  
> 
> Naw, we're finished. See ya'
> 
>  
> 
> Monday.

 

The pair move to bags by the dojo wall, preparing to leave as  
Richie enters the elevator. Cut to...

 

**INT LOFT - SAME TIME**  

 

Richie opens the elevator gate. A table lamp is on, giving only  
faint light for the room. He looks around, checking to see if  
everything is O.K. Suddenly, the lights go out, the room only  
bathed in moonlight from the skylights. He pulls his sword. He  
goes to the desk, digging through drawers, finding a flashlight.  
As he turns on the light and holds it to his face, it fades away.  


>   
> RICHIE:
> 
>  
> 
> Oh, man...
> 
>  
> 
> VOICE:
> 
>  
> 
> I don't think you'll be making
> 
>  
> 
> it to church again tonight.

 

A dark shapes comes after Richie, who blocks the attack. The pair  
fight, but Richie is seriously outmatched in the dark. He turns  
and runs, managing to reach the loft door, but gets stabbed in  
the side. With a yelp, he opens the door and runs out.

 

**INT DOJO - IN DARKNESS**  

 

Richie enters the darkened dojo from the side door. He is limping,  
obviously hurt. As he blindly makes his way to the front door,  
the office phone rings. He turns to the office, but is interrupted  
by the buzz. Frightened, he turns and leaves, the phone still  
ringing.

 

**EXT OUTSIDE THE DOJO - SAME TIME**  

 

Richie stumbles down the stairs, sword in one hand, clutching  
his stomach with the other. Down the way, Mike and Pal are standing  
by their car, talking. They see him.  


>   
> MIKE:
> 
>  
> 
> _(Yelling)_  
> 
>  
> 
> Hey, Rich! Thanks for
> 
>  
> 
> staying open.
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(Turning his head)_  
> 
>  
> 
> Don't make it a habit.
> 
>  
> 
> MIKE:
> 
>  
> 
> _(waving)_  
> 
>  
> 
> I won't.

 

The buzz sounds again. Richie hurries around the building corner,  
running into a dark shape. He yells. It is Mark Levison.  


>   
> MARK:
> 
>  
> 
> _(grabbing Richie's shoulders)_  
> 
>  
> 
> Richie. It's me, Mark. What's
> 
>  
> 
> the problem?
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(gesturing with sword)_  
> 
>  
> 
> He's inside. Upstairs.

 

They walk around the corner together, stopping when they see Mike  
and Pal still talking. Mark turns around, walking Richie to his  
car parked up the street. He's clutching Richie almost possessively.  


>   
> MARK:
> 
>  
> 
> Come on. We'll go to my hotel.

 

**INT PARIS HOTEL - LATE MORNING**  

 

Duncan is standing by a side table, hanging up phone. He is dressed  
for the funeral. Amanda walks up, putting on earrings.  


>   
> AMANDA:
> 
>  
> 
> Did you talk to him?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(worried)_  
> 
>  
> 
> No. He wasn't home, or
> 
>  
> 
> at the dojo.
> 
>  
> 
> AMANDA:
> 
>  
> 
> How about Joe's? Does he
> 
>  
> 
> hang out there a lot?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> That would make me seem
> 
>  
> 
> pretty desperate.

 

Amanda gives him a 'well, you are' look, then grabs his arm, walking  
toward the door. They exit. Fade to black. Commercial.

* * *

 

 

**ACT THREE:**  

 

Darkness, and the sound of heavy breathing. Mark Levison steps  
into spotlight pointing straight down, with sword in hand, looking  
right and left. He runs left into darkness, time somewhat slower  
than normal speed, everything blurry, with an afterimage taking  
two seconds to follow. Mark is dressed in contemporary clothes.  


>   
> NATHAN:
> 
>  
> 
> _(off camera)_  
> 
>  
> 
> Mark!

 

Mark enters spot again, from right. He looks back and then front  
before shouting.  


>   
> MARK:
> 
>  
> 
> Nathan!
> 
>  
> 
> NATHAN:
> 
>  
> 
> _(off camera)_  
> 
>  
> 
> Someone's here.
> 
>  
> 
> MARK:
> 
>  
> 
> Hold on. I'm coming.

 

Mark moves off. Trevor Matthews moves into spot. He is dressed  
in 1850's clothes.  


>   
> TREVOR:
> 
>  
> 
> I'll make it quick, boy.

 

Camera quickly pans to Mark, still looking in all directions.  


>   
> NATHAN:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> Nooo...
> 
>  
> 
> TREVOR:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> It's better this way...
> 
>  
> 
> MARK:
> 
>  
> 
> _(Panicked)_  
> 
>  
> 
> Nathan!

 

Mark runs out of spot. Black screen.  


>   
> TREVOR:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> You won't have to live forever....

 

A sword slashes across the screen, light reflecting off the blade.  
Then it is gone.  


>   
> NATHAN:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> Ahhhhhh
> 
>  
> 
> _(Cuts off)_  
> 
>  
> 
> MARK:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> Don't...

 

Mark walks slowly into spot from beside camera. Trevor Matthews  
is in the center, standing over a body, the shoulders at the line  
of darkness. No head can be seen.  


>   
> TREVOR:
> 
>  
> 
> Won't know the curse...

 

The ghost of a Quickening appears on the body on the floor. It  
quickly expands, filling the whole screen. A buzz sound also starts,  
gradually increasing. Over the noise, the screen still white...  


>   
> RICHIE:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> Mark!
> 
>  
> 
> MARK:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> Richie! I'm coming.

 

The noise and the light explodes, fading quickly to...

 

**EXT STREET - LATE NIGHT/EARLY MORNING**  

 

Mark sits up in the drivers seat of a car, face dripping sweat.  
Terror grips his features as Richie is seen moving to the car  
through the passenger window. He sticks his head in.  


>   
> RICHIE:
> 
>  
> 
> All packed.
> 
>  
> 
> MARK:
> 
>  
> 
> _(Still shaky)_  
> 
>  
> 
> Is he here?
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(unsure)_  
> 
>  
> 
> No... Everything's quiet.
> 
>  
> 
> Do you feel something?
> 
>  
> 
> MARK:
> 
>  
> 
> No. I... I guess I fell asleep.
> 
>  
> 
> A bad dream or something.
> 
>  
> 
> RICHIE:
> 
>  
> 
> You gonna be all right?
> 
>  
> 
> MARK:
> 
>  
> 
> I'm not the one he's after. You
> 
>  
> 
> sure this cabin is secluded
> 
>  
> 
> enough?
> 
>  
> 
> RICHIE:
> 
>  
> 
> Yeah. It's out in the middle of
> 
>  
> 
> nowhere. Besides, it's...
> 
>  
> 
> _(Biting tongue)_  
> 
>  
> 
> well hidden.
> 
>  
> 
> MARK:
> 
>  
> 
> Good. Are you sure you
> 
>  
> 
> don't want me to drive you?
> 
>  
> 
> RICHIE:
> 
>  
> 
> No. I'll ride my bike as far as
> 
>  
> 
> I can. Then it takes a canoe.
> 
>  
> 
> MARK:
> 
>  
> 
> _(impressed)_  
> 
>  
> 
> Sounds pretty safe.
> 
>  
> 
> _(Moves to start car)_  
> 
>  
> 
> Well, call me tomorrow night,
> 
>  
> 
> and we'll see how things are
> 
>  
> 
> going.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Uh, Mark. You got a minute?
> 
>  
> 
> MARK:
> 
>  
> 
> _(Stops)_  
> 
>  
> 
> Sure. Get in.

 

Richie gets in the car and takes a second to get situated.  


>   
> RICHIE:
> 
>  
> 
> Does running away from a fight
> 
>  
> 
> make me a...coward?
> 
>  
> 
> MARK:
> 
>  
> 
> _(Settling back)_  
> 
>  
> 
> Depends on what you mean.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Shouldn't I stay and fight this
> 
>  
> 
> guy?
> 
>  
> 
> MARK:
> 
>  
> 
> Even knowing you'd most likely
> 
>  
> 
> die? That's the outcome. Someone
> 
>  
> 
> dies.
> 
>  
> 
> RICHIE:
> 
>  
> 
> I know. But isn't that what
> 
>  
> 
> Immortals do? Fight each other?
> 
>  
> 
> MARK:
> 
>  
> 
> Usually. I guess the real question
> 
>  
> 
> is, 'do you want to die'?
> 
>  
> 
> RICHIE:
> 
>  
> 
> No. But does anyone?
> 
>  
> 
> MARK:
> 
>  
> 
> Do you want the Prize?
> 
>  
> 
> RICHIE:
> 
>  
> 
> I... I don't think so.
> 
>  
> 
> MARK:
> 
>  
> 
> Do you enjoy killing people?
> 
>  
> 
> RICHIE:
> 
>  
> 
> No!
> 
>  
> 
> MARK:
> 
>  
> 
> Are you ready to face Duncan?
> 
>  
> 
> Fight him?
> 
>  
> 
> RICHIE:
> 
>  
> 
> Never!
> 
>  
> 
> MARK:
> 
>  
> 
> Then why do you want to
> 
>  
> 
> fight?
> 
>  
> 
> RICHIE:
> 
>  
> 
> Because I have to.
> 
>  
> 
> MARK:
> 
>  
> 
> I don't see a sword at your
> 
>  
> 
> throat.
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(angry)_  
> 
>  
> 
> You don't understand.

 

He opens the car door and gets out, slamming the door shut.  


>   
> MARK:
> 
>  
> 
> _(Shouting)_  
> 
>  
> 
> Richie!

 

Richie reluctantly sticks his head in the passenger window.  


>   
> MARK:
> 
>  
> 
> You're going through what
> 
>  
> 
> every Immortal has to deal
> 
>  
> 
> with, lad. Deciding what you
> 
>  
> 
> want. A lot of the hotheads run
> 
>  
> 
> around attacking anything that
> 
>  
> 
> moves. A few cower in fear,
> 
>  
> 
> afraid everyone is after their
> 
>  
> 
> head. Duncan wants to be left
> 
>  
> 
> alone, but is smart enough to
> 
>  
> 
> realize it's a part of his life,
> 
>  
> 
> and prepares for it. You've got
> 
>  
> 
> to decide for yourself, and live
> 
>  
> 
> accordingly. Don't worry about
> 
>  
> 
> anything... or anyone else. Kapeesh?
> 
>  
> 
> RICHIE:
> 
>  
> 
> Yeah. Thanks.
> 
>  
> 
> MARK:
> 
>  
> 
> Keep in mind, though. There can be
> 
>  
> 
> only one. Don't forget.
> 
>  
> 
> RICHIE:
> 
>  
> 
> I understand.
> 
>  
> 
> _(Holds out hand)_  
> 
>  
> 
> It's been a pleasure.
> 
>  
> 
> MARK:
> 
>  
> 
> _(Shaking hands)_  
> 
>  
> 
> Don't worry, you'll see more
> 
>  
> 
> of me.
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(Laughing)_  
> 
>  
> 
> That's what I'm afraid of.

 

He straightens and walks to his bike, getting on and driving off  
around a corner. Seconds later, Mark's car starts and follows  
him around the corner.

 

**EXT CEMETERY - NOON**  

 

Duncan and Amanda are walking arm and arm. It is cloudy, threatening  
to rain. Occasional thunder can be heard in the background.  


>   
> DUNCAN:
> 
>  
> 
> _(Shrugs)_  
> 
>  
> 
> I can't help it. I worry about him.
> 
>  
> 
> AMANDA:
> 
>  
> 
> Of course you do. What Teacher
> 
>  
> 
> wouldn't?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(Stops)_  
> 
>  
> 
> I'm sorry. Here I am spouting off
> 
>  
> 
> about Richie again, and you just
> 
>  
> 
> buried...
> 
>  
> 
> She places a finger on his lips, silencing him.
> 
>  
> 
> AMANDA:
> 
>  
> 
> There's nothing anyone can do for
> 
>  
> 
> Michelle. There is something you
> 
>  
> 
> could do for Richard. The question
> 
>  
> 
> is 'will you'?
> 
>  
> 
> Duncan looks at her, thinking. They begin walking again.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> I don't know. I want to, so badly.
> 
>  
> 
> But he'll hate me.
> 
>  
> 
> AMANDA:
> 
>  
> 
> And if you don't?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> He'll die. And I don't know if I
> 
>  
> 
> could handle that.
> 
>  
> 
> AMANDA:
> 
>  
> 
> His training is over. He's not
> 
>  
> 
> under your protection anymore.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> I know that!
> 
>  
> 
> AMANDA:
> 
>  
> 
> It's difficult, because he's still
> 
>  
> 
> around. He should go away for
> 
>  
> 
> a century or...
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(stopping)_  
> 
>  
> 
> I need him. And I know he needs
> 
>  
> 
> me. To be there.
> 
>  
> 
> AMANDA:
> 
>  
> 
> _(starting to cry)_  
> 
>  
> 
> My poor, sweet Duncan. That's
> 
>  
> 
> the last lesson to learn when
> 
>  
> 
> training an Immortal. And it's
> 
>  
> 
> yours, my love. Letting go. You
> 
>  
> 
> have to let them go.

 

Amanda breaks down, nestling against Duncan as he wraps his arms  
around her. He is crying as well. A light rain begins to fall.  


>   
> DUNCAN:
> 
>  
> 
> I don't think I can.

 

**EXT ISLAND CABIN - BEFORE DAWN**  

 

Time lapse montage showing Richie paddling up to shore in the  
dark, then lights on in the cabin and the canoe beached, to dawn  
and the sun rising. He walks out door and stretches. He then appears  
in front of the cabin, in his black workout outfit. He performs  
an exercise as the camera slowly pans into the bushes. One camera  
shot over Voice's shoulder, looking at Richie through the bushes.  
Richie turns to go back in, and the buzz sounds.  


>   
> VOICE:
> 
>  
> 
> _(Off camera)_  
> 
>  
> 
> Nice setup. Private and 
> 
>  
> 
> safe.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Come and try your luck,
> 
>  
> 
> Matthews.
> 
>  
> 
> VOICE:
> 
>  
> 
> Brave words, pup. Practice all
> 
>  
> 
> you want. You'll have to leave
> 
>  
> 
> Holy Ground someday. And I'll be
> 
>  
> 
> waiting.

 

More time lapse, ending with sun overhead and smoke coming out  
of chimney.

 

**INT CABIN - SAME TIME**  

 

Richie kneels next to the fire, setting a duffel bag on the wood  
floor near a rug. He throws more logs on the fire before turning  
to the bag. He throws the carpet off the floor, revealing a trap  
door. He opens it, throwing the duffel bag down the hole, and  
follows, pulling the trapdoor closed.

 

**EXT HIGHWAY - LATER**  

 

Richie stumbles from the brush next to a major highway. He is  
soaked to the skin, muddy, and disheveled. The duffel bag is missing.  
He also keeps looking behind as he makes his way to the road,  
limping, his sword barely hid under his leather jacket. He tries  
hitchhiking, but no one stops. He interjects several words, getting  
angrier at each passing car. He tries one last time, slowly realizing  
when the buzz starts and the black car swerves toward him that  
he is in danger. Trying to dodge, he is hit, sending him flying  
into the grass. The car slows, then stops, when a highway patrol  
speeds up from the other direction, lights ablaze. The black car  
speeds off with the cop in pursuit. Richie lies unmoving on the  
side of the road.

 

**INT PARIS HOTEL - AFTERNOON**  

 

Duncan and Amanda enter room as the phone rings. She picks up  
the phone and listens.  


>   
> AMANDA:
> 
>  
> 
> Yes. Thank you.... He is.

 

She hands the phone to Duncan and goes to the bedroom.  


>   
> DUNCAN:
> 
>  
> 
> MacLeod. Yeah, we've been at the
> 
>  
> 
> cemetery. I was meaning to call
> 
>  
> 
> you anyway, have you seen Richie?

 

**INT JOE'S BAR - SAME TIME**  

 

Joe is at a desk surrounded by the night's receipts. In the background  
is the patron who followed Richie earlier.  


>   
> JOE:
> 
>  
> 
> Not for a couple of hours. And I
> 
>  
> 
> can't find him now. He said an
> 
>  
> 
> Immortal named Trevor Matthews
> 
>  
> 
> was after him?

 

**INT PARIS HOTEL**    


>   
> DUNCAN:
> 
>  
> 
> Yeah. At least we think so.

 

**INT JOE'S BAR**    


>   
> JOE:
> 
>  
> 
> _(reaching for folder)_  
> 
>  
> 
> I did some checking. Mac,
> 
>  
> 
> Richie's in serious trouble.

 

Fade to black. Commercial.

* * *

 

 

**ACT FOUR:**  

 

**INT CLOSET**  (Gratuitous Richie Scene)

 

It is pitch black. Richie gasps as he wakes up on the floor. He  
bangs his head on something and yelps. He struggles around the  
room until he finds a light switch. A swinging bare bulb suddenly  
lights up, brightening a small area of the utility closet. He  
is naked, dried blood on his face and body. On a table next to  
him is a paper sack with his sword hilt sticking out, a large  
note attached to it. Richie pulls it off and reads it.  


>   
> RICHIE:
> 
>  
> 
> (reading)
> 
>  
> 
> Hey, Roadkill. Couldn't save
> 
>  
> 
> the clothes. I'm out covering
> 
>  
> 
> for your missing body. Call me
> 
>  
> 
> later with the details. Service
> 
>  
> 
> door is to your right. Miss ya,
> 
>  
> 
> Anne.

 

He chuckles as he reaches back and turns out the light.

 

**EXT AIRPORT - LATE AFTERNOON**  

 

Joe is finishing throwing a bag into the trunk of his car. Duncan  
is helping Amanda get into a cab, kissing her and watching the  
cab pull away. He gets into the passenger side as Joe sits in  
the driver's seat. They drive off.  


>   
> DUNCAN:
> 
>  
> 
> Any word.
> 
>  
> 
> JOE:
> 
>  
> 
> There was a John Doe matching
> 
>  
> 
> his description involved in a hit
> 
>  
> 
> and run. Dead on arrival. The
> 
>  
> 
> body was taken to the hospital.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> How long ago?
> 
>  
> 
> JOE:
> 
>  
> 
> Two, three hours.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> He won't be there. Where's
> 
>  
> 
> your phone?

 

Joe hands him a cellular phone. Duncan dials.

 

**INT RICHIE'S APARTMENT - LATER**  

 

Richie is running in and out of the bedroom, throwing more clothes  
into another bag. His sword is lying on a table nearby. The phone  
rings. He is hesitant to pick it up. On the fourth ring, he does.  


>   
> RICHIE:
> 
>  
> 
> Yeah.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(from phone)_  
> 
>  
> 
> Is Mark there?
> 
>  
> 
> RICHIE:
> 
>  
> 
> No. Gee, Mac, you wouldn't
> 
>  
> 
> believe...
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Get out.
> 
>  
> 
> RICHIE:
> 
>  
> 
> What?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Get out of there! Now!
> 
>  
> 
> Levison is...
> 
>  
> 
> _(Dead silence)_  
> 
>  
> 
> RICHIE:
> 
>  
> 
> Mac? Hello?

 

He tries the phone and cannot get a dial tone. Confused, he sets  
it back down, heading for the bedroom. He comes out of the bedroom,  
clothes in hand, when the buzz hits. He automatically reaches  
for the sword.  


>   
> MARK:
> 
>  
> 
> _(outside apartment)_  
> 
>  
> 
> Richie! It's Mark. Open up.

 

Leaving the sword, Richie runs to the door, throwing it open.  
Mark steps inside as Richie babbles.  


>   
> RICHIE:
> 
>  
> 
> Man, you wouldn't believe
> 
>  
> 
> what...

 

Mark grabs him by the throat, backing him all the way to the back  
wall.  


>   
> MARK:
> 
>  
> 
> _(raspy)_  
> 
>  
> 
> It took a bit to shake the cops,
> 
>  
> 
> but I'm here to finish things.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Oh, man.

 

Mark keeps him pinned to the wall as they struggle. Mark pulls  
a dagger out with his free hand, managing to pin his left hand  
to the wall, driving the blade into the stud.  _((*Wall* stud.  
Jeeze!))_ Mark stands back, watching Richie try to alternately  
pull the dagger out, or grasp for his sword, just out of reach.  


>   
> MARK:
> 
>  
> 
> _(pulling out sword)_  
> 
>  
> 
> You've been far luckier than
> 
>  
> 
> most. They rarely take this
> 
>  
> 
> long.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Duncan will be here any
> 
>  
> 
> minute.
> 
>  
> 
> MARK:
> 
>  
> 
> _(readying stroke)_  
> 
>  
> 
> I've heard that one before.

 

Just as he starts to swing, a buzz is heard. Duncan appears in  
the open doorway, katana drawn. His face displays no emotion.  
Mark turns to face him, Richie still struggling with the dagger.  


>   
> MARK:
> 
>  
> 
> You can't interfere!
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Why, Mark? You've been killing
> 
>  
> 
> students for over a century. Why
> 
>  
> 
> didn't it end when you stopped
> 
>  
> 
> Matthews?
> 
>  
> 
> MARK:
> 
>  
> 
> _(on edge)_  
> 
>  
> 
> Matthews was my first kill, can
> 
>  
> 
> you believe it? I had to trick him.
> 
>  
> 
> The Quickening was... I wanted
> 
>  
> 
> more. But I wasn't good enough.
> 
>  
> 
> Nathan showed me that. I had to
> 
>  
> 
> fight people I could beat. Young
> 
>  
> 
> ones. They're so easy.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> You can't go on... doing this.
> 
>  
> 
> MARK:
> 
>  
> 
> I'm ready, Duncan. Even for you.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> I'll be waiting.
> 
>  
> 
> MARK:
> 
>  
> 
> _(Turning back to Richie)_  
> 
>  
> 
> Just as soon as I finish.

 

Duncan begins to leave, briefly making eye contact with Richie.  
Richie nods slightly, then resumes pulling at the dagger as Duncan  
exits.  


>   
> MARK:
> 
>  
> 
> It's time to get weaned, lad.

 

Mark swings, but Richie frees the dagger from the wall, ducking  
in the nick of time. He tumbles to his sword, and they fight.  
Richie is losing until he throws a punch with his free hand, the  
dagger still embedded in it. Realizing his advantage with a second  
weapon, he manages to gut Mark, who ends up on his knees, bleeding  
from the stomach. Mark is in shock, unable to believe he is losing.  
Richie stands over him, ready to decapitate him.  


>   
> RICHIE:
> 
>  
> 
> Too late. I'm outta the milk phase.

 

He swings. There is a spectacular Quickening, destroying his apartment.  
Richie ends up on his knees when the pyrotechnics stop, eyes closed.  
Slowly opening them, he looks around his shattered apartment,  
grimacing.  


>   
> RICHIE:
> 
>  
> 
> There goes the security deposit.

 

Fade to black. Commercial.

* * *

 

 

**TAG:**  

 

**EXT ALLEY IN FRONT OF ANTIQUE STORE - DUSK**  

 

Richie is sitting on the bench across from the store, tossing  
popcorn from a bag at birds on the brick street. Duncan walks  
up, pausing before sitting down.  


>   
> DUNCAN:
> 
>  
> 
> Joe said I'd find you here.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Amanda settled?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Yes.

 

Silence. Several people walk between them and the camera as Richie  
continues to throw popcorn. Duncan waits. Richie finally leans  
the bag over, giving Duncan the opportunity to take some. Duncan  
does, munching on a few kernels.  


>   
> DUNCAN:
> 
>  
> 
> I thought maybe we could take
> 
>  
> 
> a few days off, after she leaves....
> 
>  
> 
> Drive down the coast a bit and see
> 
>  
> 
> what's going on.
> 
>  
> 
> RICHIE:
> 
>  
> 
> I'd like that.

 

Duncan struggles to find the words to say.  


>   
> DUNCAN:
> 
>  
> 
> There's not a lot left I can
> 
>  
> 
> teach you...
> 
>  
> 
> RICHIE:
> 
>  
> 
> This isn't another so long, go
> 
>  
> 
> away, watch your head speeches,
> 
>  
> 
> is it?
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(chuckling)_  
> 
>  
> 
> No. I want you to stay. It's
> 
>  
> 
> just....
> 
>  
> 
> RICHIE:
> 
>  
> 
> You'll worry.
> 
>  
> 
> _(off Duncan's nod)_  
> 
>  
> 
> Welcome to the club. It hasn't
> 
>  
> 
> been a picnic watching you take
> 
>  
> 
> off after another Immortal night
> 
>  
> 
> after night.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> I guess not.
> 
>  
> 
> RICHIE:
> 
>  
> 
> How about you try and not fuss
> 
>  
> 
> over me and I'll try and not do
> 
>  
> 
> anything stupid.
> 
>  
> 
> DUNCAN:
> 
>  
> 
> Deal.
> 
>  
> 
> They shake hands.
> 
>  
> 
> RICHIE:
> 
>  
> 
> Now that's settled, can I borrow
> 
>  
> 
> the T-bird tonight? I want to
> 
>  
> 
> take Susie to the drive-in. Perfect
> 
>  
> 
> weather to let the top down, maybe
> 
>  
> 
> take a midnight drive into the
> 
>  
> 
> mountains...
> 
>  
> 
> DUNCAN:
> 
>  
> 
> _(drawing out the word)_  
> 
>  
> 
> Richie...
> 
>  
> 
> RICHIE:
> 
>  
> 
> _(copying Duncan)_  
> 
>  
> 
> Mac...

 

They hold the moment, trying not to laugh. Duncan finally stands,  
throwing the remaining popcorn in his hands to the birds. He fishes  
for the keys, tossing them to Richie, then starts walking away.  


>   
> RICHIE:
> 
>  
> 
> Hey, you and Amanda want to
> 
>  
> 
> double date? They're showing
> 
>  
> 
> 'Samurai Nuns meet the Furry,
> 
>  
> 
> Flying Rodents from Hell'.

 

Duncan stops, looks as if he's going to say something, then changes  
his mind and walks off, shaking his head and smiling. Fade to  
black. End Credits.

 


End file.
